The works of Liu Xinyi presented as ‘Goulash’ by White Space Beijing contained prints and 3D installations on a scale fitting to the cavernous gallery. The name of the show, along with some titles of the work seems heavy-handed, seemingly ending my thought process before it had a chance to begin, but in the case of Surplus Value it seemed to inadvertently add to the work.
Huge foam cutouts in the form of defunct symbols once used by socialist states are stacked in one corner. They reference old logos and flags, in the shapes of natural crops, yet are rendered in laser cut plastic foam. They weigh less now than in the original subjects, and the artifice makes the plant forms all the more unnatural.
I enjoy a juxtaposition of materials and motives, I see the tragedy of what each isn’t as much as what it is.
The optimism and ideology of fallen regimes are often proved flawed and unsustainable, yet here are emblems rendered perfectly in a material which will never degrade. They are pristine, they could be pressed into service again at any moment, should history ever change as quickly again as it has done in the last 100 years.
That this is being observed in a socialist state which so far continues to function is surely no mistake. Are these emblems being stored out of respect, or rendered powerless through their decorative states?